Just Me: Solo Piano Excursions (1995) is a solo jazz piano album by American composer and pianist Clare Fischer, released by Concord Jazz (catalog number CCD-4679). The album captures Fischer's improvisational prowess and deep musicality, recorded live at The Toy Shop in Hollywood, California, on March 31 and April 7, 1995.

The share of love for music lasts longer than many marriages. 20 years is the period of Chris Gilcher, Ingmar Hänsch and Marcell Meyer unified as a team called Levitation. Affected by a distinctive style, they’ve been shaping a sound that has inspired a whole generation. Chillout is the musical genre, they had a big impact on - most of all with their contributions for the ground-breaking compilation-series Café Del Mar, above all "More Than Ever People" feat. Cathy Battistessa. For one part, "Essential Levitation" is a collection of 20 tracks on 2 CDs, which presents the best achievements of the team in 20 years. For the other part, it is new material which Levitation has produced for this release over the past three years. To escape the stereotype of lounge music as just another muzak, Levitation has always strived for high standards in songwriting and composition…

Le Royaume ou l’Asile (1990) is a soundtrack album by Canadian musician André Duchesne, released under the Ambiances Magnétiques label. This album serves as the musical accompaniment to the film Le Royaume ou l’Asile by the Gagné brothers. The soundtrack is notable for its surreal synthesis of classical music, particularly the works of Debussy, Satie, and Ravel, combined with elements of New Orleans-style jazz.

The latest chapter in Columbia/Legacy's highly acclaimed Bob Dylan Bootleg Series shines fresh light on the provocative new musical directions Dylan was taking as a songwriter and a recording artist from 1980 through 1985. In the early 1980s, while the music industry was grappling with the arrival of new trends and technology, from MTV to compact discs to digital recording, Bob Dylan was writing and recording new songs for a new decade, creating an essential new chapters in his studio catalog. Bob Dylan - Springtime In New York (1980-1985) celebrates the rich creative period surrounding Dylan's classic albums Shot Of Love, Infidels, and Empire Burlesque with previously unreleased outtakes, alternate takes, rehearsal recordings, live performances and more.

Last year, Vicky Leandros, one of the country's last great pop divas, declared her farewell to the stage. Versatile artists like her have become very rare. Since the sixties, Vicky, with her unmistakable voice and huge talent, was not only constantly at the top of the music business in Germany. She also made music history in international countries with over 55 million records sold worldwide and a total of 500 albums - dozens of which went gold and platinum

2014 release from the Blues/Jazz/Rock guitarist. A Day In Nashville was recorded live in a single session. Robben chose to record the album in a controlled environment but treat it like a live performance. The album features news songs by Ford along with 'Cut You Loose' by harmonica great James Cotton and 'Poor Kelly Blues' by Maceo Merriweather.

This time, Cray veered back toward the blues (most convincingly, too), even covering Albert King's "You're Gonna Need Me" and bemoaning paying taxes on the humorous "1040 Blues." Unlike his previous efforts, Cray produced this one himself. Also, longtime bassist Richard Cousins was history, replaced by Karl Sevareid.

Frank Zappa’s fall 1975 touring schedule brought him to two cities in Yugoslavia, marking the first and only time he played shows in that country. This 2 CD set combines performances from both shows, recorded live in Zagreb on November 21st and Ljubljana on November 22nd, 1975. This release showcases a rare band line-up of The Mothers, featuring Norma Bell on saxes and vocals. FZ would discontinue using The Mothers name for good after the European and Australian leg in early 1976. Re-mixed from the original 1/2” 8-track tape masters by Craig Parker Adams and mastered by John Polito, this historical set is the only multi-tracked document of this group in the Vault.

ALAS was one of the most exquisite progressive bands in Argentina. The effective way in which they infused airs of Creole Argentinean folklore into their main prog sound - influenced by the massive energy of ELP (30 %) and the exuberant magic of WEATHER REPORT and RETURN TO FOREVER (70 %) - made ALAS a world of their own. Keyboardist/wind player/vocalist/main writer Gustavo Moretto had been a prominent figure in his country's musical scene. With the idea of forging a new musical direction leaning towards art-rock, he founded the band in 1975 in allegiance with bassist Alex Zucker and drummer/percussionist Carlos Riganti.

One of the relatively few New York psychedelic groups to achieve national recognition, Autosalvage's day in the limelight was fairly dim and brief. The band included bassist Skip Boone, the brother of Lovin' Spoonful bassist Steve Boone, and Rick Turner, who contributed guitar to most of the tracks on Ian & Sylvia's 1966 album Play One More. Autosalvage's self-titled 1968 album revealed a fairly large palette, with touches of folk, blues, and strings. The group's cheerful harmonies owed a bit to the Lovin' Spoonful, and Frank Zappa (perhaps impressed by their sometimes-disjointed and improvisational material) was a fan, but their material was not strong enough to forge a distinctive identity. Boone and drummer Darius Davenport also appear on the obscure 1968 album by Bear, but otherwise Autosalvage's debut was also their curtain call.

Joe Simon is one of the premiere R&B voices of all time. Over a career spanning five decades, "The Mouth of the South" has racked up 35 Billboard pop hits and 50 R&B hits, exploring an encyclopedia of R&B genres ranging from gospel to doo wop, countrysoul, the '70s sound of Philadelphia, Blaxploitation, disco, and a subsequent return to Simon's spiritual side. But, because his hits were evenly split between two different labels, there has never been a definitive compilation…until now. Step by Step—The Complete Pop Hits presents all 35 of Simon's pop smashes, including his maiden chart success, "My Adorable One," released by Vee Jay in 1964, then his 18 hits for the Sound Stage 7 and 16 hits for the Spring labels. Among the tracks are such gems as Simon's Grammy winning version of "The Chokin' Kind," the Gamble & Huff-produced "Drowning in The Sea of Love" and "The Power of Love," "Theme from Cleopatra Jones," the title song that he wrote and produced for the Warner Brothers smash 1973 film, fan favorites "Misty Blue," "Your Time to Cry," and the title track, and his Top Ten smash "Get Down, Get Down (on the Floor)."

Benefit was the album on which the Jethro Tull sound solidified around folk music, abandoning blues entirely. Beginning with the opening number, "With You There to Help Me," Anderson adopts his now-familiar, slightly mournful folksinger/sage persona, with a rather sardonic outlook on life and the world; his acoustic guitar carries the melody, joined by Martin Barre's electric instrument for the crescendos. This would be the model for much of the material on Aqualung and especially Thick as a Brick, although the acoustic/electric pairing would be executed more effectively on those albums.

Those who liked the moodier, more atmospheric material on the last Mark Lanegan Band offering, 2004's Bubblegum, will find much to enjoy on Blues Funeral – an album that has little to do with blues as a musical form. Lanegan has been a busy man since Bubblegum. In the nearly eight ensuing years, he's issued three records with Isobel Campbell, joined Greg Dulli in the Gutter Twins, guested on albums by the Twilight Singers and UNKLE, and was the lead vocalist on most of the last two Soulsavers offerings. Produced by Eleven guitarist Alain Johannes (who also fulfills that role here as well as playing bass, keyboards, and percussion), Blues Funeral finds Lanegan in a musically ambitious place.

Pentangle were always great at creating musical fusions, and on this album, they once again came through. The opening song, "Wedding Dress," is a fabulous meeting of Celtic, country, and, believe it or not, funk. It's one of the few songs of theirs that actually rocks. The rest of the record is classic Pentangle, with Bert Jansch's and John Renbourn's acoustic guitars intermingling so well that it would make even Neil Young and Stephen Stills a little envious. Jacqui McShee, as usual, has some exquisite vocal moments, namely the previously mentioned "Wedding Dress" and an excellent reading of "Will the Circle Be Unbroken." This track shows how the group was further exploring new musical ground, this time with traditional American folk/gospel. The group's rhythm section of Danny Thompson (upright bass/cello) and Terry Cox (percussion) – easily one of the most inventive on the planet – shines on every cut, creating solid ground for Renbourn, McShee, and Jansch to do their high-wire act on vocals and guitar. One of their finest all-around albums.

Wild Women Dont Have the Blues, the debut album from Nancy Harrow, is a hidden gem. A vocalist celebrated for her genuine jazz artistry, Harrow shines on this outing. Here, without mimicry or pretense, the artist delivers performances that swing effortlessly. Produced by the legendary Nat Hentoff, this 1960 recording assembles an extraordinary band led by Buck Clayton, with arrangements designed to highlight Harrow's bold and natural style. Among the stellar lineup, NEA Jazz Master and guitar icon Kenny Burrell stands out with his lyrical, soulful playing, weaving beautifully into the albums rich musical tapestry. Burrells contributions, alongside the likes of Buddy Tate (tenor saxophone), Dickie Wells (trombone), and Milt Hinton (bass), bring a depth and warmth that elevates every track.